The Master: A Screenplay by Paul Thomas AndersonIf youre reading only because you like the film/author - Good for you.
If youre reading to learn how to write, this wont help.
The author is an already established writer/director, who has A Lot of liberty.
As a rule of thumb, those who wish to hone their craft should study works by screenwriters, who generally must pen very tight & tidy pages.
There are few directors who write as beautifully as they film. Jane Campion is at the top of my very short list.
Question to those who love the film and the screenplay - Tear-jerkingly-beautiful filmmaking, seriously. But is there a point to this film, really? If you think so, will you tell me?
The Nerdist Podcast Paul Thomas Anderson in 1 hour 17 MINS
10 Great PT Anderson Quotes for Screenwriters & Filmmakers
But I hope it involves an audience. You have to put on a good show first, I think. But there were so many other things floating around. And at a certain point, I became aware of the stuff he was basing it on. What he was writing about was the life of [oil barons] Edward Doheny and Harry Sinclair. So it was like having a really good collaborator, the book.
By late , Anderson had finished his screenplay for Magnolia. And Anderson was granted final cut of Magnolia , which guaranteed his innovative screenplay would make a smooth transition to the screen. Like Hard Eight and Boogie Nights , Magnolia follows a group of haunted lives intersecting with one another, this time during a twenty-four-hour period in the Valley. Creative Screenwriting spoke to Paul Thomas Anderson, and found him as unique and thoughtful as his films. John C.
A committed bachelor, serial womanizer and controlling narcissist, his world is utterly at his lash, right down to the fact that he takes his asparagus with oil and salt, never butter, thank you very much. Then one morning he takes a brisk ride in his maroon sports car to a breakfast spot by the seaside where Alma Vicky Krieps , a waitress, literally stumbles into his life and the wheels of drama are set in motion. What on the surface might seem to PTA fans as an allegory about obsessive creative types is really more about a reckoning with basic human need. There is an eloquent, surprisingly apt parallel here between the high fashion dressmaker and the writer. The tailor is sort of telling a story, creating an illusion with each dress. It was a specific idea that he needed to be creative in some way because that kind of overbearing preoccupation with work was something that generally you find with a creative life. Daniel and I are pretty familiar with that world.
Paul Thomas Anderson is not a director constrained by genre or subject matter, telling finely tuned stories about s hippies, burgeoning cults, quirky romance, or the world of London fashion. The sharp viewer might be able to catch some of his trademark stylistic choices and favorite character tropes, but he's also very open about his approaches to filmmaking, and numerous nuggets of wisdom can be found in his interviews and conversations throughout the years. So let's pull up a chair next to Daniel Plainview and learn from The Master In this commentary segment, Anderson talks about riding the creative high of one project into the next. He doesn't allow himself to rest or get comfortable. When he feels the spark of an idea, he immediately starts to develop it, no matter how vague it may seem at first. Consider this as a method for keeping your creative tools sharp and engaged.